Star power and box office revenues: evidence from China

2018 ◽  
Vol 43 (2) ◽  
pp. 247-278 ◽  
Author(s):  
Fei Peng ◽  
Lili Kang ◽  
Sajid Anwar ◽  
Xue Li
Keyword(s):  
Star Power ◽  
Box Office

scholarly journals Goodwill and System Dynamics Modeling for Film Investment Decision by Interactive Efforts

2018 ◽  
Vol 2018 ◽  
pp. 1-10
Author(s):  
Jian Feng ◽  
Bin Liu
Keyword(s):  
Simulation Analysis ◽  
Investment Decision ◽  
Market Performance ◽  
Academic Research ◽  
Dynamics Modeling ◽  
Star Power ◽  
Box Office ◽  
Film Producer ◽  
The Cost ◽  
Film Making

Academic research pertaining to the marketing of film industry has identified advertising, film-making, and star power as the important factors influencing a movie’s market performance. Prior research, however, has not investigated the joint influences of these factors. The current study has extended previous research by analyzing the investment decision of studios or investors. In order to analyze the optimal film investment decision in advertising, film-making, and stars power, this paper develops a goodwill model and system dynamic (SD) model, which allow us to disentangle the effects of advertising, film-making, and star power on film market performance. The results show that the film producer should increasingly lay emphasis on investing in advertising to absorb moviegoers’ attention. Then the film producer should focus on investing in film-making when film quality has a great impact on the movie's reputation and audience's viewing decision. Furthermore, the film producer should pay more attention to the higher cost-performance stars who have more reasonable remuneration, better acting skills, and bigger box-office guarantee. Moreover, the numerical analysis reveals that rational audience contribute more than fans to a movie's box-office and bankable stars contribute more than high-profile stars to a movie's returns. Through SD simulation analysis, the film series yields higher profits than new theme movies although the cost of investment is the same.

Chapter 27

2020 ◽  
pp. 376-392
Author(s):  
Mark Glancy
Keyword(s):  
Childhood Memories ◽  
Star Power ◽  
Box Office ◽  
Hallucinogenic Drug ◽  
Working Together ◽  
Screwball Comedy ◽  
Unconscious Mind

By the time Cary Grant and Betsy Drake announced their separation in 1958, Grant had followed Drake’s lead by embarking on an intensive form of psychotherapy using the hallucinogenic drug LSD. In clinically supervised sessions, he took the drug, which was not yet illegal, and explored his unconscious mind. This, he maintained, allowed him to peer into his past and overcome the childhood memories and experiences that haunted him. He revealed this to a prominent journalist, Joe Hyams, and then vehemently denied the story when it made headlines across the country. Yet the story did not dent his popularity with audiences. Operation Petticoat (1959), directed by Blake Edwards, became his biggest box-office success. Its humour is dated now, but it is still notable as the film that paired Grant with Tony Curtis, the actor who imitated him so memorably in Some Like It Hot (1959). The Grass is Greener (1960), directed by Stanley Donen, tried to repeat the success of the sophisticated comedy-romance Indiscreet (1958), but fell short of that mark. The screwball comedy A Touch of Mink (1962) paired Grant with Doris Day, the most popular screen actress of the period. They did not enjoy working together, but the film’s star power ensured that it was a hit. These successes, together with Grant’s lucrative contract with Universal-International Pictures, led the trade weekly Variety to declare that he was the “richest actor” and “most astute businessman” working in Hollywood.

A comparative study of the online film ratings of US and Chinese audiences: An analytical approach based on big data

2018 ◽  
Vol 81 (3) ◽  
pp. 283-302 ◽  
Author(s):  
Guangchao C Feng
Keyword(s):  
Big Data ◽  
Analytical Approach ◽  
Future Research ◽  
The Internet ◽  
True Story ◽  
Star Power ◽  
Box Office ◽  
The Us ◽  
Main Effects ◽  
Motion Picture Association

Many movies have influenced many societies in various ways, but the factors that affect films’ ratings remain understudied. This article goes beyond examining a variety of factors that determine such ratings by focusing on the interaction effect of the country difference with other predictors of film ratings between the world’s top two movie markets, the US and China, using big data gathered from the Internet. The country difference significantly moderates the effect of predictors such as the film’s year of release, its Motion Picture Association of America ratings, country of origin, and its awards. Predictors such as whether it was adapted from a novel, whether it was based on a true story, its production budget, and its ‘star power’ exert the consistent main effects on film ratings across the countries. However, box office success and sequels were found to be insignificant predictors of film ratings. The article then discusses the implications of these findings and suggests directions for future research.

How Critical are Critical Reviews? The Box Office Effects of Film Critics, Star Power, and Budgets

2003 ◽  
Vol 67 (4) ◽  
pp. 103-117 ◽  
Author(s):  
Suman Basuroy ◽  
Subimal Chatterjee ◽  
S. Abraham Ravid
Keyword(s):  
Star Power ◽  
Box Office ◽  
Critical Reviews

Star Power

2011 ◽  
pp. 051911124324
Author(s):  
Cheryl Hogue
Keyword(s):  
Star Power

Forecasting US movies box office performances in Turkey using machine learning algorithms

2020 ◽  
Vol 39 (5) ◽  
pp. 6579-6590
Author(s):  
Sandy Çağlıyor ◽  
Başar Öztayşi ◽  
Selime Sezgin
Keyword(s):  
Machine Learning ◽  
Global Economy ◽  
Learning Algorithms ◽  
Forecast Model ◽  
Machine Learning Algorithms ◽  
Gradient Boosting ◽  
High Stakes ◽  
Box Office ◽  
Industry Forecast ◽  
The Impact

The motion picture industry is one of the largest industries worldwide and has significant importance in the global economy. Considering the high stakes and high risks in the industry, forecast models and decision support systems are gaining importance. Several attempts have been made to estimate the theatrical performance of a movie before or at the early stages of its release. Nevertheless, these models are mostly used for predicting domestic performances and the industry still struggles to predict box office performances in overseas markets. In this study, the aim is to design a forecast model using different machine learning algorithms to estimate the theatrical success of US movies in Turkey. From various sources, a dataset of 1559 movies is constructed. Firstly, independent variables are grouped as pre-release, distributor type, and international distribution based on their characteristic. The number of attendances is discretized into three classes. Four popular machine learning algorithms, artificial neural networks, decision tree regression and gradient boosting tree and random forest are employed, and the impact of each group is observed by compared by the performance models. Then the number of target classes is increased into five and eight and results are compared with the previously developed models in the literature.

Dancing in Early Productions of The Beggar's Opera

2015 ◽  
Vol 33 (2) ◽  
pp. 143-158
Author(s):  
Jeremy Barlow ◽  
Moira Goff
Keyword(s):  
Political Corruption ◽  
Italian Opera ◽  
Box Office ◽  
The Many

John Gay's The Beggar's Opera was accepted for production by John Rich, manager at the Theatre Royal, Lincoln's Inn Fields, and received its premiere in January 1728. With its twin satirical targets of Italian opera and political corruption, and its fresh approach to musical entertainment, the opera had an unprecedented success during its first season and continued to be performed every year in London for the remainder of the century. Alongside the many songs, the libretto indicates three contrasting ensemble dances, introduced at key moments of the drama. These dances have been overlooked in most studies of The Beggar's Opera. The article investigates the significance of the dances within the ballad opera, the dancers who may have performed them and what they may have been dancing. Each dance and its music is analysed in detail, and placed within the context of the dance repertoire and wider theatrical background at Lincoln's Inn Fields. The authors also demonstrate the importance of dance in attracting audiences at Lincoln's Inn Fields; and show how, as box office receipts for The Beggar's Opera eventually declined, Rich stimulated demand by introducing divertissements and entr'acte dances unrelated to the show.

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